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Sutter Street + Octavia Street, Pacific Heights, San Francisco, California
25 August 2013
"This lively corner structure is enriched with a wide assortment of Queen Anne devices, including a three tiered corner tower with both hexagonal and round sections, angled bays, multiple gables with window-lit gable-ends, assertive cornice lines, a dormer and an oriel, not to mention garlands, fishscale shingles, dentils, and assorted brackets. Much of the interior also remains, having been restored and refitted when the building became the Queen Anne Hotel in 1980. The original central hallway survives, with its oak paneling, as does the squared spiral staircase beneath a large stained glass skylight. The most important elements that have been lost include the bell-shaped roof to the corner tower and the grand exterior granite staircase to a massively arched open vestibule before the main door. Miss Mary Lake's School for Young Ladies was a fashionable , non-sectarian seminary that grew from Miss Zeiska's Young Ladies Seminary in South Park in the 1860s. Enrollment was probably about 120 students, ranging in age from "infants" through high school. There was room for 65-70 boarders in the building. James G. Fair, of Comstock Lode fame, and the father of girls, was the major benefactor of the school having the school built in 1889, sparing no expense, for $45,000.00. The school survived only seven years at this site. The building was then leased to the Cosmos Club which counted such local moghuls (sic) as James Flood and Governor George Pardee among its members. From 1909 to 1926, it was used as a boarding house. In 1926 the building became the Girl's Friendly Society Lodge, a home for young working women. From 1950 to 1975 it was used as a guest house called The Lodge. Henry Schulze practiced from 1887 through 1908."
Sutter Street, San Francisco, California
2016-05-14_05-59-11
Lynx Optare Tempo FD54JYF, snapped in Hunstanton bus station and framed appropriately by trees in the park opposite
'Orrible little things the 12s. Their only redeeming feature being that you could prefix the fleet number with a buffer grease 3 and giggle childishly. (3)1216 arrives at some shack I didn't write down on some train I didn't board. Portugal May 1993ish.
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For my coming Jabba's palace I've built some technical device. I've made an instruction to see how I used some SNOT-techniques.
The Web Everywhere: Multi-Device Web Design
Luke Wroblewski, CEO & Co-Founder of Input Factory Inc.
The web no longer starts and ends on our desktop and laptop computers. Today, the tremendous growth of mobile devices is turning more and more people into multi-device and, as a result, cross-device users. Designing for this reality requires new ways of thinking and building for the web.
Join Luke Wroblewski, author of Mobile First (A Book Apart, 2012), for this in-depth look at today’s multi-device ecosystem. Learn how mobile provides a foundation for this new reality, how to build on this foundation to reach an ever-increasing set of devices, and where the web will take us next.
Two-car Class 156 'Super Sprinter' DMU 156 480 rumbles through Kirkby-in-Furness station, a deserted request stop, whilst forming Northern Rail's 07.41 (SaO) Barrow-Sellafield service. @07.52
Infrared converted Sony A6000 with Sony E 16mm F2.8 mounted with the Sony Ultra Wide Converter. HDR AEB +/-2 total of 3 exposures at F8, 16mm, auto focus and processed with Photomatix HDR software.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
WMATA Gallery Place / Chinatown Station in Washington DC on Saturday afternoon, 7 October 2017 by Elvert Barnes Photography
People With Electronic Devices / DISTRACTED Series
JUST WORKS Human Resources Company BOSS FACE Ad Poster
BILLBOARD DISPLAYS AD POSTERS Project
Trip to Washington DC for Catering / DC Before Work Series
at last, i have finish my electronic device paper just know....!
waiting for the result....left or right ??
Some of these serious gentlemen hold metal tools and on the desk I can see metal pikes of different size and shape. In the open boxes I can make out various accessories and elecrical switches.
According to the clamp, the man on the left is holding, I assume that the devices are probably lightning arresters. But any other idea is welcome!
[Germany, unidentified photographer, 1910-1920?]
After toddling around for years with different systems, I finally have a collection of devices that suit my taste;
-Vintage late 70's Akai Direct drive, auto return AP-206C turntable.
-Late 90's Denon AV surround receiver AVR-1801
-Mid 90's Yamaha CDX-480 cd player
-Late 90's Denon DRW-585 double cassette player
- Vintage 70's 484 Philips front speakers
-Vintage mid/late 80's Philips DRC MK2 rear speakers (not on the pic).
Just the stuff I need to annoy the neighbours ;P
DSC07480 - Let's just say I am happy with my current camera and lens. Had a split second to make this image, in-between people passing by. Really enjoy the bright, soft on the left, and the dark, hard on the right.
Done from the hip, looking down on tilt screen. No time to bring up to eye level. I also think the slightly lower point of view work well.
The Monjacks are back!
Monjack Polka Dotis is a quirky little minx with a whole bag of tricks up her sleeve. You never know what she might surprise you with next. You can tell by the look in her eye she is usually crafting a shiny new plan.
The Monjack monsters can be used as a wallet or carry case. Attach them to your bag, keys, accessories, phone and other devices. Each monster has his own look and personality. Monjack monsters are available in mini monster and mega monster size.
Original design, handcrafted buttons for eyes feature the TOCO logo. YKK zipper for mouth. A ball chain attachment is secured through his left ear.
And how much RAM did you say it had?
photo taken at Blade Runner Future Noir maps.secondlife.com/secondlife/Themyscira/179/66/1446
algerian polymath ∋vitruc, though born into poverty, rose in influence and power through his revisioning of janissarian tactics, demonstrating uncommon military brilliance and innovation. initially forced because of his age (estimated to be 13 at his first foray) to filter his instructions through a "ghost", an older, mildly disabled war veteran, his identity was discovered upon investigation of the death of said ghost. still a very young man (14 or 15; sources differ), he was challenged by pasha to prove his competence in developing strategy for a pending battle. ∋vitruc agreed, making a request that no opposing soldiers be killed unnecessarily, and that all armaments and gear obtained from the defeated be given him to study. upon the rout of the enemy battalion (again, sources differ alarmingly here, showing much personal bias among historians), ∋vitruc was awarded his prize, along with two captured soldiers, now his servants.
these servants, whom he'd personally selected, were reputed to become his advisors and reporters of the mysterious scientific innovations of foreign lands. though the empire was powerful, suspicion of great weaponry possessed by the enemy haunted the upper classes, and ∋vitruc's youthful intelligence was given unprecedented freedom to spend and explore. retiring with his servants to a remote valley some distance from oran, he spent some time refining (and re-refining) his own astonishingly accurate (and lethal) modifications to the arquebus, eventually earning the undying gratitude of the pasha for more than tripling the range of the firearm. as a result, the empire went unchallenged with any seriousness for many years.
his true reasons for retiring to the privacy of the countryside, however, were only revealed upon the eve of what has been recorded as his death (in or around 1623), but was really what more modern biographers now call his grand escape. algeria began to suffer from the effects of plague in 1620, and though he felt safe in his sheltered valley, ∋vitruc realised that terrible disease could strike at any time (his theories on epidemiology, though noted here, will have to wait to be discussed). none of his drawings survive (disputed; no paper record exists), but he was rumoured to have been fascinated by the constellations and from a very early age built odd devices (described as witches' clouds) that clearly must have been balloon prototypes. cave drawings estimated to be from his era (and in a valley not far from oran) show odd craft in the sky, in both day and night - historians again squabble here, as the drawings are crude and ∋vitruc was widely known to be a meticulous and exemplary artist. some agreement can be established that it was his servants who did the scribbling while he worked, and he possibly took his paperwork with him.
unsatisfied with paper aircraft, ∋vitruc began working with metal constructs he believed would fly through the air and carry weaponry, people and any and all matter of goods. documents survive in algiers, written by his detractors (and those who politically opposed his funders) that mock his impossible dream of levitating rocks, metals and minerals. ∋vitruc's legend and value as a miltary innovator protected him, though, and only the most polite needling of his dreams seems to have been allowed. some more serious criticism came in the form of questioning his use of valuable materials (notably silver and gold), which he was reputed to be experimenting with and destroying in vast amounts. there is evidence that at least two attempts were made by brigands to steal from him, but his weaponry was very greatly feared and respected (and his location secret and remote), so it's doubtful any dent in his resources was made.
the golden orb, shown above, is one of the few remaining devices he developed. with plague threatening his land (one of the servants is said to have become quite ill or died in 1622), ∋vitruc boarded his experimental metal craft and is said to have floated or flown away over the mediterranean sea. his surviving servant, when questioned, was barely believed, and he indicated that ∋vitruc had packed all of his remaining machines, along with some food, before departing. envoys of the pasha delivered the news, and in a fury, believing ∋vitruc had simply stolen all the wealth allowed him (not more than a few ounces of gold and silver remained), the story of his death was summarily spread.
the orb, once in the possession of the musée des arts et métiers (museum of arts and crafts) in paris, france, was lost and presumed stolen in 1804. a daguerreotype (dated 1850) of an unnamed man standing beside it surfaced in 1948, but no location could be determined. its existence on the grey market is, however, an open secret, and though algerian nationalists have made strong claims that the orb be repatriated, other pressing matters have consistently stifled the issue.
shown here is the orb attached sideways to a support structure, for no reason other than the whim of the current owner (and perhaps a slight attempt to disguise it, as it is on somewhat open display). the mechanical works are unfortunately not shown and may be missing entirely, though i was not allowed to touch, approach or examine the orb. photographing it was forbidden for the few years i knew of its location, until just recently, and i was required to both obscure all background details and surrender the memory card of my camera after downloading and editing this one shot. for obvious reasons, i cannot geolocate the orb on any map.
Oil, 18 x 24 inches
For thousands of years, multitudes of agricultural societies have worshiped this bringer of light and warmth, knowing it's critical (if magical seeming) role in growing their life-sustaining crops.
Our sun is the engine that powers our solar system. With slight exception, all the energy we use came from this star. Temperature variations on the earth's surface drive the winds. For billions of years, organisms have been photosynthesizing it's light and storing the energy that we now use as fossil fuels. Our atmosphere traps the sun's heat and keeps us from freezing to unlivable temperatures every night. We have evolved in a stable balance of atmospheric insulation, but now, as we burn billions of years of stored solar energy, we risk turning our energy savior into our fiery scourge. Luckily, with photovoltaic (solar) panels we have found a way to directly harness the sun's energy without altering our atmosphere. Hopefully we will soon make broad use of these scientific (if magical seeming) devices to avoid angering our source.
Here's a great video on exactly how the greenhouse effect works: www.youtube.com/watch?v=sTvqIijqvTg
Get your own solar panels to appease our source here (whether you own your roof or not): www.arcadiapower.com/solar
Full film: youtu.be/xP9oPMLnZ0o
archive.org/details/lost_city1
A scientist (Kane Richmond) tries to figure out what is causing a rash of unexplained natural disasters around the globe and deduces that the epicenter of the incidents is coming from the unexplored jungles of Africa. There, William "Stage" Boyd is using his high-tech "brain destroyer" to turn the natives into mindless brutes. Considered one of the more bizarre serials of the 1930s,
synopsis
The legendary so-bad-it's-good serial The Lost City manages to keep the audience on its toes for 12 full chapters. It all begins when Hero Bruce Gordon (Kane Richmond) invents a device to track the mysterious electrical disturbances which are causing turmoil all over the world. The invention leads Gordon to Central Africa, where he comes upon a gigantic "Magnetic Mountain" which shelters the lost city of Liguria. This art-deco dominion is ruled by mad scientist Zolok (played by William "Stage" Boyd with what one historian described as "alcoholic intensity"), who gleefully monitors the activities of his minions via television and who fiendish plans to create an army of zombie giants with which to rule the world. Zolok's reluctant assistant is the brilliant Dr. Manyus (Josef Swickard), who is being forced to cooperate lest harm befall his beautiful daughter Natcha (Claudia Dell). Manyus' chief claim to fame is a machine that will turn black people white -- prompting the sensitivity-challenged Gordon to exclaim "That's wonderful!" The story careens wildly from one incredible peril to the next, suggesting that the writers were making it all up as they went along. The film's most enjoyable character is renegade trader Butterfield (George "Gabby" Hayes), who goes from good guy to villain to good guy again, depending on the dictates of the script. Cheap, silly and overacted, Lost City is also a lot of good campy fun. The serial is also available in two separate feature versions, one of which is titled City of Lost Men.
THE LOST CITY (1935)Wow. Where do I even start with this one? THE LOST CITY is a completely outrageous serial that packs in more surrealistic situations and screwball characters than most comedies of that era. It's entertaining enough – I sometimes had the sensation of a bad acid flashback from the 1970s while watching it – but it sure is strange.
We start with the Earth being threatened by powerful electrical storms that are causing floods and earthquakes, with lightning bolts blowing up ships at sea and smashing apart buildings. Things look bad as stock footage rampages. But Bruce Gordon (Kane Richmond, SPY SMASHER himself) is on the job. This studly young electrical engineer is slaving over devices of his own invention, pinpointing the source of the storms on a small globe he has sitting in front of him.
Somehow, the disasters are all being caused by some force in the center of Africa. It's unexplored territory where no expedition had dared venture, but Gordon scoffs at the danger. Backed by wealthy citizens and the military, our hero sets out to save the world, dragging along his unenthusiastic assistant Jerry (Eddie Fetherstone). Their goal is the legendary Magnetic Mountain, a huge mass of iron.
As it happens, the real spanner in the works is a genuine Mad Scientist. In an hidden (and almost deserted) city of advanced design lurks the last surviving member of the race of Ligurians. This is Zolok (William "Stage" Boyd), a ranting laughing madman in a rather snappy Flash Gordon-type outfit. (Lightning bolts are a popular feature on Ligurian fashion.) Zolok is causing the disasters as part of his experiments, and if there's great loss of life and property destruction, well that's too bad. He's planning on world conquest anyway, so everyone should get used to catastrophes.
In addition to his electrical projects, Zolok is also fooling around with making brain-dead giant zombies out of the local natives. Evidently, the studio rounded up the tallest Black guys they could find and matched them with rather short men for contrast. It actually works pretty well. The scene where we watch four Giants carry struggling screaming natives down stairs and throw them in a cell is unsettling. The Giants walk with a strange lurch, too, shoulders thrown back and arms tensed out to the sides. Add some enormous bushy explosions of hair, dubbed-in panther snarls, and you've got an impressive army of henchmen. (I notice even the serial's hero has no luck slugging it out with the Giants; several times he is seized and throttled, unable to do much against them.) Sam Baker as Hugo is a particularly imposing Giant African killer zombie with a leopard shriek.
There are more complications to the situation than this. Even though he's the sole survivor of a race of geniuses, Zolok is relying on the expertise of his captive Dr Manyus for his gadgets. The doc is only co-operating to prevent harm to his daughter, who is also being held. (She is the least helpful of any serial heroine I've seen, who are usually a feisty and resourceful bunch of gals. Mostly she flutters her hands and screams.) Adding to the group dynamics are Zolok's two lieutenants. There's Appolyn, who had obviously been spending an hour a day with the barbells and wants to show the results in his little silver shorts and harness. Then we have Gorzo (William Bletcher in a five-pound wig), a hunchbacked dwarf with a deep and impressive voice that could have gotten him a good job in radio.
Still not enough characters in the cast. Going along with Bruce Gordon and Jerry are two assistant engineers, Colton and Reynolds. Add a shady trader named Butterfield (George Hayes, later "Gabby") and a broken-down beachcomber without a beach, the eyepatched Andrews. Now you've got a good assortment to be captured and have to be rescued, to betray each other or to be unexpectedly killed to show just how dangerous the situation is. Wait, add two more villains.There's an Arab slave trader Ben Ali, who thinks being able to produce enormous hulking zombies would be great for business (he contributes a desultory swordfight with Gordon). And finally, there's merciless Queen Rama (who knows where she came from, maybe one of the isolated pockets of ancient white civilization that Tarzan used to stumbled upon). She's a lustful scheming sort of sovereign, and it's too bad the actress wasn't a bit prettier, as it kind of takes away from the character's impact.
Wait, wait. One more ingredient for the stew. Zolok has for some reason transmogrified a group of natives into white-skinned dwarves, the "Spider Men" who trap victims in nets and jab at them with spears. Creepy little guys, alright. I generally dislike the use of midgets or dwarves to represent aliens or mythical beings in films, although I can see how convenient it must be for the filmmakers. The idea that Zolok can switch peoples' skin color back and forth is novel, though. Talk about a perfect secret identity for a crime-fighter or criminal mastermind!
Well, now we can settle back and watch this large assortment of oddballs interact with each other for twelve chapters. There's certainly enough going on to keep any cliffhanger fan entertained. The one area where THE LOST CITY is lacking, though, is stunts. I didn't see any spectacular dives or tackles or slugfests. (Bruce Gordon does have a cute two-inch punch that Bruce Lee would have envied; he hardly draws back his arm at all.)
And for a serial set in Africa, the expected attacks by lions, hippos, giant snakes, velociraptors and gorillas are mostly absent. But that's probably just as well as we've already seen all the available footage elsewhere.
The sets are terrific, plenty of sparking and crackling apparatus that looks like it should be doing something useful (donated by the inimitable Kenneth Strickfaden, who else?), futuristic hallways and rooms with numerous gadgets on the walls. a remote viewing television screen, a death ray that eats through metal and threatens the strapped-down Gordon almost exactly like Goldfinger's laser burning toward James Bond's crotch, that sort of thing.
I think I should mention the acting. It's way over the top. Most of the characters gesture and bluster and cower like they're in a silent film from ten years earlier, or on a stage playing to nearsighted audiences. Boyd as Zolok in particular really lays it on with a leaden hand. I've read in a few places he was known as a heavy drinker, and his performance does nothing to disprove that. In his final scene, as his world is crashing around him and he decides to blow the whole city up, Zolok seems genuinely befuddled and confused. It's oddly touching, though, as if he's in shock over how badly things have gone wrong.
The Naked 3D Fitness Tracker goes on pre-request appears to be ready to change your entire body estimation game. It is a beautiful, cutting edge, flawlessly outlined framework saddled with a sketchy name. The apparatus is in general made of an extraordinary mirror glass that outfitted with depth...
These pesky little monsters are very rarely seen, but they delight in making electrical and mechanical devices go on the blinks. Did the microwave burn your food? Did your television just cut out and come back on for no reason? Did your alarm system signal a beep out of the blue for no cause?.